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UG.book Page i Wednesday, February 21, 2001 12:05 PM © 2001 Adobe Systems Incorporated. All rights reserved. Adobe After Effects 5.0 User Guide for Windows and Macintosh If this guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a com- mitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide. Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual or- ganization. Adobe, the Adobe logo, Acrobat, Adobe Premiere, After Effects, Illustrator, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All references to PostScript on the screen or in this manual are ref- erences either to the PostScript interpreter or to the PostScript language. Apple, Macintosh, and Mac OS are trademarks of Apple Computer, Inc., registered in the U. S. and other countries. FireWire, QuickTime, and the QuickTime logo are trademarks used under license. Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Macromedia and Flash are trademarks of Macromedia Inc. MPEG Layer 3 audio compression technology is licensed by Fraunhofer IIS and Thompson. All other trademarks are the property of their respective owners. Contains an implementation of the LZW algorithm licensed under U.S. Patent 4,558,302. Notice to U.S. government end users. The software and documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applica- ble, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe Systems Incorporated, 345 Park Avenue, San Jose, CA 94110-2704, USA. For U.S. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if ap- propriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60- 60, 60-250 ,and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. Part number: 90027945 (3/01) UG.book Page ii Wednesday, February 21, 2001 12:05 PM iii Contents Introduction Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Installing Adobe After Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Learning Adobe After Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Using Web resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Other learning resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Customer support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 An Overview of Adobe After Effects Superior Adobe product integration . . . . . . . . . . . . . . . . . . . . 9 Powerful masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2D & 3D compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Extensive motion controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Leading-edge video and audio effects . . . . . . . . . . . . . . . . . 14 Flexible media handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Web delivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Production Bundle features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 What’s New in After Effects 5.0 Precise control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Enhanced productivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Versatile output options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Working with Projects, Windows, and Palettes Chapter 1 Working in a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Planning your project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Time basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Setting up a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Selecting 16-bpc color depth (PB only) . . . . . . . . . . . . . . . . . 46 Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Using context menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Using windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Composition, Layer, and Footage window controls . . . . . . 53 Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Info palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 UG.book Page iii Wednesday, February 21, 2001 12:05 PM CONTENTS iv Preparing and Importing Footage Chapter 2 How After Effects works with imported files . . . . . . . . . . . . 65 Preparing a still-image file for import into After Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Importing files into a project . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Importing a sequence of still-image files . . . . . . . . . . . . . . . 70 Importing footage containing an alpha channel . . . . . . . . 72 Importing Adobe Photoshop files . . . . . . . . . . . . . . . . . . . . . . 74 Importing an Adobe Illustrator, PDF, or EPS file . . . . . . . . . . 77 Importing an After Effects project . . . . . . . . . . . . . . . . . . . . . . 80 Importing Adobe Premiere projects . . . . . . . . . . . . . . . . . . . . 81 Importing 3D-image files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Importing an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Importing Cineon files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Preparing motion footage for import . . . . . . . . . . . . . . . . . . 83 Using interlaced video in After Effects . . . . . . . . . . . . . . . . . . 85 Removing 3:2 pulldown from video transferred from film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Setting pixel aspect ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Building a Composition Chapter 3 Working with imported footage . . . . . . . . . . . . . . . . . . . . . . . 93 Replacing and substituting footage . . . . . . . . . . . . . . . . . . . . 97 Creating a composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Understanding basic composition settings . . . . . . . . . . . . 103 Understanding advanced composition settings . . . . . . . 108 Adding footage items to a composition . . . . . . . . . . . . . . . 109 Nesting a composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Using the Composition window . . . . . . . . . . . . . . . . . . . . . . 112 Using the Timeline window . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Managing Layers Chapter 4 Adding layers to compositions . . . . . . . . . . . . . . . . . . . . . . . . 125 Creating new layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Rearranging layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Customizing layer work and views . . . . . . . . . . . . . . . . . . . . 135 Understanding trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 UG.book Page iv Wednesday, February 21, 2001 12:05 PM v About After Effects Audio/Video switches . . . . . . . . . . . . . 146 Altering appearances on the layer level . . . . . . . . . . . . . . . 148 Using audio layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Animating Layers Chapter 5 About layer properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Understanding keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Setting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Moving and copying keyframes . . . . . . . . . . . . . . . . . . . . . . . 166 Moving keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Determining where to set and modify keyframes . . . . . . 170 Setting layer position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Modifying a motion path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Changing the number of visible motion-path keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Using Motion Sketch to draw a motion path . . . . . . . . . . . 175 Smoothing motion and velocity . . . . . . . . . . . . . . . . . . . . . . 177 Creating motion paths with masks . . . . . . . . . . . . . . . . . . . . 178 Setting layer size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Flipping a layer using Scale property keyframes . . . . . . . 179 Setting layer opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Setting layer rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Rotating a layer along a motion path . . . . . . . . . . . . . . . . . . 181 Setting and animating an anchor point . . . . . . . . . . . . . . . 182 Understanding parent layers . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Setting and animating a layer property in the Timeline window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Setting and animating mask properties . . . . . . . . . . . . . . . 188 Setting and animating effects . . . . . . . . . . . . . . . . . . . . . . . . . 188 Setting preview options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Setting Video Preview preferences . . . . . . . . . . . . . . . . . . . . 190 Previewing animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 UG.book Page v Wednesday, February 21, 2001 12:05 PM CONTENTS vi Fine-tuning Animation Chapter 6 Controlling change through interpolation . . . . . . . . . . . . . 199 Comparing interpolation methods . . . . . . . . . . . . . . . . . . . . 201 Changing the interpolation method . . . . . . . . . . . . . . . . . . 204 Using the Value graph to change a layer property value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Adding keyframes to a Value graph . . . . . . . . . . . . . . . . . . . 211 Factors affecting speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Controlling speed along a motion path . . . . . . . . . . . . . . . 213 Fine-tuning speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Time-stretching a layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 Using the Time-Reverse Keyframes keyframe assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Reversing the playback direction of a layer . . . . . . . . . . . . 225 About time-remapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Working with Masks and Transparency Chapter 7 Using a footage item with an alpha channel . . . . . . . . . . . 238 Working with masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Creating masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Drawing rectangular and oval masks . . . . . . . . . . . . . . . . . . 240 About Mask Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Drawing a Bezier mask with the pen tool . . . . . . . . . . . . . . 242 Selecting masks and control points . . . . . . . . . . . . . . . . . . . 244 Scaling and rotating selected masks or points . . . . . . . . . 245 Changing the shape of a mask . . . . . . . . . . . . . . . . . . . . . . . . 247 Feathering mask edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Adjusting the edges of a mask . . . . . . . . . . . . . . . . . . . . . . . . 250 Adjusting the opacity of a mask . . . . . . . . . . . . . . . . . . . . . . . 250 Specifying which parts of a mask are inside and outside . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Moving a mask and panning a layer behind a mask . . . . 251 Specifying one mask as the target for animation . . . . . . 253 Animating a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Importing masks from Adobe Illustrator and Adobe Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Applying effects to a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Creating visible lines and solid shapes from masks . . . . 256 UG.book Page vi Wednesday, February 21, 2001 12:05 PM vii Controlling how masks in the same layer interact . . . . . . 256 Using mask modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Modifying multiple masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Locking a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Reusing a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Creating track mattes and traveling mattes . . . . . . . . . . . . 260 Using layer modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Creating transparency using keying . . . . . . . . . . . . . . . . . . . 265 Applying Effects Chapter 8 Learning about specific effects . . . . . . . . . . . . . . . . . . . . . . . . 269 Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Changing effect property values . . . . . . . . . . . . . . . . . . . . . . 273 Placing an effect using effect points . . . . . . . . . . . . . . . . . . 274 Changing effects over time . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Positioning effects on layers . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Applying an effect to several layers with an adjustment layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Changing rendering order . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Using audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Using cameras and lights with effects . . . . . . . . . . . . . . . . . 277 Using Adobe Photoshop layer styles in After Effects . . . 277 Using keying effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Effects included with After Effects . . . . . . . . . . . . . . . . . . . . . 278 3D Compositing Chapter 9 Understanding 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Understanding 3D compositing in After Effects . . . . . . . . 284 Working with 3D layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Understanding 3D Transform properties . . . . . . . . . . . . . . 287 Understanding 3D views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Using cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Using lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Using 3D compositing with effects . . . . . . . . . . . . . . . . . . . . 301 Using 3D compositing with masks . . . . . . . . . . . . . . . . . . . . 302 Using third-party files with depth information . . . . . . . . . 302 Previewing 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 3D rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 UG.book Page vii Wednesday, February 21, 2001 12:05 PM CONTENTS viii Creating Expressions Chapter 10 Using expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Creating expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Creating expressions with the pick whip . . . . . . . . . . . . . . 312 Writing your own expressions . . . . . . . . . . . . . . . . . . . . . . . . 315 Understanding the expression language . . . . . . . . . . . . . . 317 Using the expression language menu . . . . . . . . . . . . . . . . . 321 Sample expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 After Effects expression language guide . . . . . . . . . . . . . . 324 Managing Projects Effectively Chapter 11 Visualizing organization with Flowchart View . . . . . . . . . 339 Organizing a project using nesting . . . . . . . . . . . . . . . . . . . . 342 Creating animations by nesting compositions . . . . . . . . . 345 Saving time by prerendering nested compositions . . . . 347 Understanding precomposing . . . . . . . . . . . . . . . . . . . . . . . . 348 Reducing the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 Rendering a Movie Chapter 12 Understanding rendering and compression . . . . . . . . . . . 354 Making (rendering) a movie . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Using the Render Queue window . . . . . . . . . . . . . . . . . . . . . 355 Changing render settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Creating and using render settings templates . . . . . . . . . 360 Changing output module settings . . . . . . . . . . . . . . . . . . . . 361 Creating and using output module templates . . . . . . . . . 364 Exporting to Macromedia Flash (SWF) format . . . . . . . . . 365 Saving a RAM preview as a rendered movie . . . . . . . . . . . 368 Exporting footage using QuickTime components . . . . . 369 Rendering an item to multiple formats . . . . . . . . . . . . . . . . 369 Choosing compression options . . . . . . . . . . . . . . . . . . . . . . . 370 Exporting a single frame of a composition . . . . . . . . . . . . 373 Creating a filmstrip file for editing in Photoshop . . . . . . . 374 Rendering frames as a sequence of still images . . . . . . . . 375 Rendering cross-platform movies and stills . . . . . . . . . . . . 376 Collecting files in one location . . . . . . . . . . . . . . . . . . . . . . . . 376 Rendering using a watch folder (PB only) . . . . . . . . . . . . . . 378 UG.book Page viii Wednesday, February 21, 2001 12:05 PM ix Working with overflow volumes . . . . . . . . . . . . . . . . . . . . . . 383 Rendering movies at different sizes . . . . . . . . . . . . . . . . . . . 384 Creating low-resolution movies for testing motion . . . . 387 Testing the field-rendering order . . . . . . . . . . . . . . . . . . . . . 387 Using Property and Tracking Controls (PB only) Chapter 13 Adding randomness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Simulating a zoom lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 About tracking motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Tracking different types of motion . . . . . . . . . . . . . . . . . . . . 399 Tracking a moving region or object . . . . . . . . . . . . . . . . . . . 404 Stabilizing motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 Using Motion Math (PB only) Chapter 14 Using Expressions instead of Motion Math . . . . . . . . . . . . 411 Working in the Motion Math window . . . . . . . . . . . . . . . . . 412 Motion Math scripts included with the Production Bundle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Running and editing existing scripts . . . . . . . . . . . . . . . . . . 414 Writing your own scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Learning more about Motion Math . . . . . . . . . . . . . . . . . . . 416 Using Vector Paint (PB only) Chapter 15 Selecting and modifying paint tools . . . . . . . . . . . . . . . . . . 421 Editing your paint work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 Selecting Composite Paint options . . . . . . . . . . . . . . . . . . . . 427 Playing back your painting . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 Setting Wiggle Control options . . . . . . . . . . . . . . . . . . . . . . . 435 Selecting viewing options . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Configuring a stylus for Vector Paint . . . . . . . . . . . . . . . . . . 439 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 UG.book Page ix Wednesday, February 21, 2001 12:05 PM UG.book Page x Wednesday, February 21, 2001 12:05 PM [...]... with your software package When you register, several additional effects become available from the Adobe Web site, adobe. com, for download For information, see Effects included with After Effects on page 278 Installing Adobe After Effects You must install the After Effects application from the Adobe After Effects CD onto your hard drive; you cannot run the program from the CD Follow the on-screen installation... the official training series for Adobe graphics and publishing software This book is developed by experts at Adobe and published by Adobe Press The Adobe After Effects Classroom in a Book includes lessons about using After Effects For information on purchasing Adobe After Effects Classroom in a Book, visit the Adobe Web site or contact your local book distributor The Adobe Certification program Offers... 21, 2001 12:05 PM 9 An Overview of Adobe After Effects This overview introduces you to the key features of After Effects If you’re an experienced After Effects user, you may want to scan this overview and then skip to “What’s New in After Effects 5.0. ” After Effects is available in two versions The Standard version provides the core 2D/3D compositing, animation, and effects tools that motion graphics... Updates, patches, and plug-ins • After Effects Top Issues, containing the latest After Effects technical support solutions • Technical guides • A searchable database of answers to technical questions • Links to user forums To use the After Effects product section on the Adobe Web site: 1 Go to the Adobe home page and search for After Effects 2 Register your copy of After Effects 3 Once you have completed... After Effects CD, makes it possible to view Adobe PDF files Many of the files on the Adobe Web site are in PDF format The phrase “PB only” means that the feature is available only in the Production Bundle version of After Effects Using online Help The Adobe After Effects 5.0 application includes complete documentation in an HTMLbased help system It contains essential information on using all of the After. .. page at www .adobe. com 2 From the Adobe Sites menu, choose your geographical region The Adobe home page is customized for several geographical regions Using the After Effects product section of the Adobe Web site The After Effects product section of the Adobe Web site provides a central source for registered After Effects users to access the latest Web content for After Effects Here you’ll find the following:... 12:05 PM ADOBE AFTER EFFECTS 5.0 11 User Guide Adobe Premiere After Effects can import Premiere projects as compositions Each video, audio, and stillimage clip appears on its own layer, arranged in the correct time-based sequence in the Time Layout window You can then manipulate these clips to create the sophisticated effects and animations best produced in After Effects If you use the After Effects. .. 2001 12:05 PM ADOBE AFTER EFFECTS 5.0 5 User Guide • Click any button in the Adobe Online window to open the Web page to which the button is linked • Click the bookmark button ( ) to view suggested Web sites related to After Effects and Adobe These bookmarks are automatically updated as new Web sites become available • Click Close to return to After Effects Other learning resources Other Adobe learning... the CD Learning Adobe After Effects Adobe provides a variety of options for you to learn After Effects, including online Help and tool tips You can also use the Adobe Web site to easily access a host of continually updated Web resources for learning After Effects, from tips and tutorials to technical support information UG.book Page 2 Wednesday, February 21, 2001 12:05 PM 2 Introduction Adobe Acrobat®... transform mode work in After Effects just as they do in other popular Adobe products UG.book Page 10 Wednesday, February 21, 2001 12:05 PM 10 An Overview of Adobe After Effects Adobe Photoshop You can transform layered Photoshop images into animations with complete ease Import Photoshop files as compositions one at a time or in batches After Effects preserves layers, common layer effects, adjustment layers, . 21, 200 1 12: 05 PM UG.book Page 7 Wednesday, February 21, 200 1 12: 05 PM UG.book Page 8 Wednesday, February 21, 200 1 12: 05 PM 9 An Overview of Adobe After. February 21, 200 1 12: 05 PM UG.book Page x Wednesday, February 21, 200 1 12: 05 PM 1 Introduction elcome to the Adobe ® After Effects ® 5. 0 application,

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